Indonesian Artivism: Layers of Performativity and Connectivity

Introduction Artivism, a contraction of art and activism, has been described as the first new art form of the twenty-first century. But what is artistic, new, or twenty-first century about it? This article seeks to critically address this question by focusing on Indonesian environmental activism, particularly the pioneering socially engaged art of Moelyono (b. 1957) since the 1980s and the campaigns ‘Melawan Asap’ (Fighting the Haze) and ‘Save Rimbang Baling’ in the province of Riau, central eastern Sumatra, since 2014. The environmental campaigns in Riau have been steered by local artist Heri Budiman (b. 1971) and the art centre and collective Rumah Budaya Siku Keluang (The Siku Keluang Cultural House, established in 2010). They have been directly inspired by Moelyono and artivism from other regions in Indonesia, including West Java. I seek to demonstrate that in Indonesian environmental art and artivism the entanglement between art and activism produces the performativity and connectivity needed to move people and to effect change both within and beyond the art world. I try to show that art in Indonesian artivism is not limited to a singular object or action, but is spatially and temporarily dispersed across various platforms and shaped by a diverse group of actors. In Moelyono’s work and the environmental campaigns in Sumatra, art can be found in layers and combinations of contemporary and traditional media; (semi-)institutionalised and independent creative projects, spaces and networks; and various forms of engagement with government. Both individually and collectively, the creative platforms facilitate performativity and connectivity for reclaiming public space, redefining urbanity and economic development, and promoting environmental sustainability. The history and multilayeredness of Indonesian environmental art complicates common perceptions and scholarly critique of the nature, scope, and impact of artivism.